G Major Modal Exercise – Relative Minor Scale – E Minor Blues

Introduction

This lesson will introduce the G Major scale and discuss one of the modes of the major scale called the Aeolian mode. We will then demonstrate how this information relates back to the blues with a simple exercise in E Minor Blues.

The G Major Scale

The notes in the G Major Scale are:

G – A – B – C – D – E – F# - G

As you can see, the scale has no flat notes and only one sharp note in the seventh note of the scale. So for G Major, just remember … F#. Simple. This will come into play later when we work with some of our backing tracks.

The Aeolian Mode – 6th Mode of the Major Scale

If you are unfamiliar with modes, this may appear really complicated, but it isn’t. A mode is just a different way of looking at a scale. In this case, we say that Aeolian mode is the 6th mode of the major scale. What does that mean? It simply means that using a given major scale, we change where the scale begins and ends. G Major begins with G and ends with G. The 6th mode would begin with the 6th note. So in this case, using the G Major scale as our starting point, we just count up six notes to E.

Aeolian Mode of G Major Scale:

E – F# - G – A – B – C – D – E

Notice there is only one sharp or flat and it’s our good friend, F#. That’s no coincidence. This IS the G Major scale, we just start on the 6th note, E. See, told you it was simple.

Tell me if you see any similarities with the E Natural Minor scale below.

E Natural Minor Scale

E – F# - G – A – B – C – D – E

There’s our good friend F# again. Yep, it’s the same scale. So holy cow, does this mean that I can just play the G Major scale anytime I’m in E Minor?

The answer is … it depends. If the chord changes are all harmonized modes of the G Major Scale, then yes, it will work every time. Ok, what the heck does that mean? Harmonization is a complex subject beyond the scope of this lesson. But at a high level, if all the notes in the chord are in the G Major Scale (remember that F#), then we should be ok.

What’s The Point?

If all of the notes are the same, why do we care about modes? Good question. The answer is a bit vague to describe without hearing it (will do that in a minute). But essentially, even though you are playing the same notes of G Major, it does make a difference where you stop and start. The notes in a scale are not separated equally. There are whole steps and half steps throughout the scale. If you get that, it’s easy to understand how changing where you start and stop the scale will change how it sounds. You change the “tonal center” of the scale, and it gives it a different feel.

The most drastic sounding difference is between G Major and E Minor. Play each scale and listen to the differences. One is strong and confident; the other is dark and sadder. They have the exact same notes, how is that possible? That is the modal magic of changing tonal centers in action!!!

Now try some of the other modes. Try starting on A instead of G. How about B? Etc. All of the modes have their place, but the 6th mode of the major will come in handy in our minor blues exercise below.

Enough … Let’s Jam

If you are like me, then this theory stuff will make your head hurt. Let’s see what this sounds like when we put the theory to good use.


Exercise 1: Rockin’ Hard In E Minor

This first exercise was given to me by Gabriel, my guitar instructor (see Credits below). He had me take a simple G Major chord progression and do a little solo exercise. However, the twist was we weren’t using a standard G / C / D progression. Instead, he wanted me to start with E minor instead of G, making our progression Em / C / D. Let’s double check that these chords are all harmonized from the G Major scale. (Note: Sevenths are optional and put in parenthesis below).

E Minor Chord

E – G – B – (D)

C Major Chord

C – E – G – (B)

D Major Chord

D – F# - A – (C)

Yep, every single one of those notes above (even the sevenths) are in the G major scale. We are now free to play any note on our neck so long as it’s in the G major scale.

I started working on a backing track to jam along to, and what I heard in my head was a little slow minor thing that modulated back and forth from the C to the D at the turn-arounds. It starts rocking out around the two minute mark. You can hear that in the attachment below called Exercise_1_Backing_Track.mp3.

One thing you’ll notice when you listen to the backing track is that I don’t use a standard D Major chord in the progression. I noticed that if I just slid the C Major chord up two frets on the guitar, that all the notes were still in G Major. But it had this cool “suspended” kind of vibe. Turns out the chords is D-Sus4 (add 2):

D Sus 4 (add 2) Chord

D – E - F# - G - A

Feel free to use this track to play along and jam out to the G Major Scale. While practicing to this backing track, remember that if you are on a keyboard, any of the white keys except the F# will work. Experiment with starting and ending your melodic runs from different notes in the scale to see how this colors your solo.

If you are doing this exercise on guitar, go vertical!!! Don’t stay in your box. Move up and down the neck. Learn the names of the notes all over the neck so you can find all those natural notes and the F#’s. This is one of the funnest ways I’ve found to learn the notes on your fretboard. Just jam out. But say the notes. The more you do this, the more you will just know which notes are in the scale. And soon, the whole fretboard will open up for your fingers. It’s amazingly liberating not to be limited to one or two hand positions. Learn the notes on your neck this way. You won’t be sorry.


Exercise 2: Slow Gut Wrenching Minor Blues in E Minor

That’s all well and good, but it’s not the blues. And here on The Roadhouse, all roads lead back to the blues. The minute I learned this modal and relative minor stuff, I wanted to know if I could use it in the blues.

A good example of minor blues is Otis Rush’s song “Double Trouble” that SRV named his band after. It’s a classic example of minor blues in my opinion. We will be doing a version of Double Trouble in the key of Eminor (so we can use the same notes from the exercise above.) But first, we have to check once again to see if our chords harmonize the G major scale just like before.

E Minor Chord

E – G – B – (D)

A Minor Chord

A – C – E – (G)

B Minor Chord

B – D – E – (F#)

Yep, once again, all notes are in the G Major scale. Take a listen to the backing track for the second exercise called Exercise_2_Backing_Track.mp3 below. This time around, experiment with playing notes from the E Minor Pentatonic sometimes, and other times go to the G Major Scale or E Natural Minor. Change your key center by starting and stopping on different notes to create a different vibe. And like before, go vertical and say the notes out loud when you play them. Learn your neck. Free your mind.

That’s our lesson for today. Hope you enjoyed it. Be sure and check back at the Roadhouse often for updates and more lessons.

Credits

Inspiration for this lesson came from my guitar instructor, Gabriel DeHoyos. You can checkout his stuff on his website at:

http://www.gabrieldehoyos.com